under-radar-mag:

Over the course of three albums—each arguably better than the last—Annie Clark has established herself as one of indie rock’s most reliably innovative acts. But as her strengths (dazzlingly ornate arrangements, intricately designed wordplay) have generally trended toward the cerebral, the literate, and the sophisticated, her music has never felt particularly dangerous. Like the legendary David Byrne, with whom she collaborated on 2012’s Love This Giant, she has made music to engage the body via the mind while largely bypassing the id. But something seemed to have changed when she performed a slashing and shrieking rendition of Big Black’s famously antisocial “Kerosene” at a tribute concert in May of 2011. After the release of her critically-lauded third album, Strange Mercy, Clark began debuting new, far more aggressive songs at shows, even stage-diving on occasion. With her self-titled fourth album, Clark is ready to throw some punches. (via St. Vincent: Digital Ashes Interview | Under the Radar - Music Magazine)

4/20/14
Hippie Hill
San Francisco, CA

corpsepose:

happy easter
corpsepose:

happy easter
corpsepose:

happy easter
corpsepose:

happy easter
corpsepose:

happy easter
fuckyeahvintage-retro:

Beach fun, 1960s © Getty Images
fuckyeahvintage-retro:

Beach fun, 1960s © Getty Images
fuckyeahvintage-retro:

Beach fun, 1960s © Getty Images
fuckyeahvintage-retro:

Beach fun, 1960s © Getty Images

I want my life to be a Doo Wop song. 

onlyoldphotography:

Vivian Maier: A pair of pigeons feeding, New York, NY, not dated.

blackhistoryalbum:

The Real Loren Hill | Hip Hop Throwback

hollyhocksandtulips:

Young love, 1950s

back-then:

April 6, 1958. Detroit police members

betype:

Jael MIllan
betype:

Jael MIllan
betype:

Jael MIllan